Huoshan Qingxue (1932)
Directed by
Sun Yu
Also Known As:
Loving Blood of the Volcano (International english title)
Blood on the Volcano (Informal english title)
Revenge by the Volcano
Du sang sur le volcan (French title)
Runtime: 96 min
Country: China
Language: Chinese
Subs: English
Color: Black and White
Sound Mix: Silent
Imdb: None
Silentera: http://www.silentera.com/PSFL/data/H/Hu ... e1932.html
3continents: http://www.3continents.com/3continents/ ... filmid=738
Seances: http://www.seances.org/fr/film.asp?id=9698
Nihon-fr: http://www.nihon-fr.com/cinema/imprimer ... ms&id=6797
In memory of Li Li-li (1915-2005), she was the last idol of china silent cinema which lived through new century, her farewell means the finis of early china silent cinema. I will share her three silent masterpieces, L'Aube (1933), La Reine du sport (1934) and this, all directed by Sun Yu.
I didn't add score accompaniment, can't find a very befitting music. This is a vhsrip.
Classic Actress Li Li-li Died at 90.
Li Li-li, one of the most famous Chinese actresses in the 1930s died at August 8, 2005, in Beijing. Originally named Qian Zhenzhen, she was born in Beiping (now Beijing) in 1915. When she was only 11, Li had her screen debut by playing a supporting role in Yan Shan Yin Xia (The Hidden Hero of Yan Mountains), with her parents. She became a dancer after moved to Shanghai with her family in 1927. Five years later, Li took the leading role in Huo Shan Qing Xue (literal: Loving Blood of the Volcano) and began her life as a movie star. In the following five years, Li was involved in over a dozen films, including Ti Yu Huang Hou (The Queen of Sports), Da Lu (The Big Road) and Lang Shan Die Xue Ji (The Wolf Hill). After Japan launched the full-scale invasion of China in 1937, Li starred in three films about the war against the Japanese, Re Xue Zhong Hun (Fight to the Last), Gu Dao Tian Tang (Paradise in the Besieged City) and Sai Shang Feng Yun (Unrest in Saishang). After her career as a movie star ended in the early 1950's for political reasons, she became a professor at Beijing Film Academy. In 1992, Li played herself in a biopic of Ruan Ling-Yu, another movie star in the 1930s, who took her own life at the age of 25.
A warlord's nephew lusts for farmer Song Ke's sister. When Song refuses, the whole family is thrown into jail and the sister commit suicide later. The father dies of grief and Song leaves with his cousin for overseas. The warlord’s nephew loses power and also escapes to the same country. All scores will soon be settled at the mouth of a volcano in the middle of an earthquake. Sun Yu mixes his favourite theme of anti-warlord oppression with Hollywood style tale of vengeance set in an exotic location.
Survival Status: Print exists in the Zhongguo Dianying Ziliaoguan (China Film Archive) film archive.
Outside of Kinsey's essay on Dreyer, all of the journal articles discussed so far have concentrated chiefly on American cinema. Professor Peter Rist adds a welcome non-American historical contribution to the journal with his piece on late silent and early Chinese film, "Visual Style in the Shanghai Films Made by the Lianhua Film Company (United Photoplay Service) 1931-37." For reasons that included the Japanese Occupation, the Second World War, and the Communist Revolution, early Chinese cinema was difficult to see and, consequently, overlooked by both Asian and Western scholars. According to Rist it was only in the 1980's that early Chinese cinema had begun to be reevaluated. Instrumental in this reevaluation were major retrospectives of early Chinese cinema in 1982 (Milan and Paris), 1984 (Paris), and 1995 and 1997 (Pordenone, Italy). According to most accounts only 66 or 67 of these early Chinese films have survived which, according to Rist, makes consensus on general visual style difficult to gauge. Luckily, the survival rate of films made at the Lianhua Studio is much higher, 40%, and these are the films that Rist assesses in search of a directorial (Sun Yu) and "studio" visual style. Rist uses formal-textual analysis, as well as recorded interviews with cinematographers Zhuo Ke and Hang Shaofen, to establish patterns in camera movement, art direction, and mise en scene. Rist acknowledges that Chinese and Japanese film historians (Tadao Sato and Wang Renmei) have noted the influence of Hollywood on the Lianhua films, notably Murnau's use of the crane and camera movement in Sunrise and later Fox studio films. Rist agrees with this assessment, but adds further insight by noting how the lateral camera movement that link characters together in their environment in the films Loving Blood of the Volcano (1932) and Small Toys (1932, both by Sun Yu) also look ahead to the "lateral depth of field" style that film critic André Bazin championed in the realist work of Jean Renoir. Rist admits that he has only scratched the surface of his subject and that further research is needed, but his essay is exemplary of how close formal analysis, empirical knowledge, and historical contextualisation can yield important insight.
Sun.Yu.-.Loving.Blood.of.the.Volcano.(1932,.in.memory.of.Li.Lili).ENGSRT.VHSRIP.BY.AUESS.avi 
Sun.Yu.-.Loving.Blood.of.the.Volcano.(1932,.in.memory.of.Li.Lili).ENG.SUB.srt Subs en español gracias a MieMie: http://www.opensubtitles.org/es/subtitl ... qingxie-es
My last 5 chnese early film shares will be:
Daybreak (1933, silent)
Queen of Sport (1934, silent)
Spring Silkworm (1933, silent)
Street Angel (1937, sound)
Song at midnight (1937, sound)
and maybe...Twin Sisters (1934, sound but no subtitle if you still want I can share.)
Thanks Auess! 
And by the way, talking about subs, have you read this? 
